00:07Grazie a tutti.
00:30A lot of studios, magazines and whatever in this business have a tendency to talk a lot about the next
00:40gen hardware and of course we do have the shaders, rigid body, the bump maps, all the stuff.
00:45Instead of having focus on all the tech that's available out there, we have tried to first come up with
00:55the colors, the mood, the compositions that we want to have.
00:59What images do we need, what environments do we need to actually tell the story.
01:04This here is some of the concept art for the very first level.
01:10As the game begins, the character is at the pit of his life.
01:16What was important to us was to find a location that sort of had this naked and sad atmosphere.
01:27And so we looked around in parts of Los Angeles where the colors also in real life are sort of
01:36washed out.
01:38It's not that populated.
01:41Actually, all the sketches we did here are without people on them.
01:45Because the character in the beginning of the game is also, he's all alone.
01:50And we wanted the environment and what was around him to sort of reflect that.
01:56Of course, before we did this, we had people go to Los Angeles.
02:01We had tons of photos and stuff.
02:03But using photos alone is not really sufficient enough.
02:09Because if I show you ten different photographs, there's a lot of information in those photos that you will pick
02:18out.
02:19It's not necessarily the same information that I see in the photographs.
02:22This is why the concept drawings are important.
02:26because they are much more, way more simplified than what the photo would be.
02:33All the stuff that we don't want to have in the scene is left out in the concept drawing.
02:39Another thing you can do with concept drawings that you cannot do using photos alone
02:44is you can really specify the colors and the contrast you want to have.
02:49It's very difficult to do if you have a batch of 100 different photos
02:55because they will be taking on the different weather conditions,
02:59the different time of day and so on.
03:10Hey, I'm Anders Poulsen and I'm the lead character designer here at I.O.
03:17When we design characters, we are looking for doing something
03:23that nobody else has done before.
03:25Kane was the first one that was designed and he started out to be this kind of flawless, slick, average
03:35character
03:37that we normally see in games.
03:41And then we kind of added the influence of life to them, like boldness, beard, glasses, kind of...
03:52He evolved from being this very suited guy to be more loose.
04:00And Lynch was then added as this sidekick character,
04:03but actually gave more and more life to Kane's hero character.
04:10Lynch is a schizophrenic, insane, medicated character
04:18that is kind of stuck in his own reality.
04:22He has this kind of redneck character, but dressed in a fancy suit
04:30that kind of makes him more complex.
04:32I don't see him as... he's not full of hate.
04:35He's more... he's... I see him more as basically scared.
04:39He's scared of himself, he's scared of people, he's paranoid, and he kind of acts from fear.
04:50It comes from me, I think.
04:53It's a bit of anger put into him and a bit of childhood memories and...
05:03paranoia that we all have, like, did they say something about me and stuff like that.
05:09I like him a lot. I think he's more interesting than the hero.
05:17But he's also a more complex character. He's... he's... he's not straightforward.
05:43Right on...
05:46No idea.
05:48Never mind the human being.
05:48No, no, no.
05:50No, no, no!
05:55No, no, no, no.
05:56Let's do it.
05:56No, no, no.
05:57No, no, no.
05:58No, no, no.
05:58No, no.
06:03Grazie.
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